作业代写：The ideology of Hollywood cinema

2018-08-31 来源: 51due教员组 类别: Essay范文

下面为大家整理一篇优秀的essay代写范文- The ideology of Hollywood cinema，供大家参考学习，这篇论文讨论了好莱坞电影的意识形态。好莱坞的灾难大片作为一种类型片，以影像语言传达了电影人对人类历史变迁与社会发展的关切，不仅具有其独特的文化内涵，而且输出了大量美国式的意识形态。意识形态在电影中所传输的模式更加隐秘而无形，这些无形的深层次的意识潜移默化地渗透到观众的思维与行为方式上，使美国所宣扬的文化形态与观念在世界范围内达成了共识。

As
a type of film, Hollywood disaster movies convey filmmakers' concerns about
human historical changes and social development with image language. They not
only have their unique cultural connotation, but also export a large number of
American ideologies. Compared with the stimulation of senses and the shock of
the soul, the mode of ideology transmitted in the film is more hidden and
invisible. The deep-seated consciousness of these intangibles imperceptibly
permeates the thinking and behavior of the audience, making the cultural form
and concept advocated by the United States reach a consensus in the world.
Based on the devastating disaster of the earth, 2012 depicts the scenes when human
beings encounter destruction with vivid and vivid images, building up a kind of
individual heroism under the glory of human nature.

"2012"
is a master of disaster film Roland emmerich grandly launched after "the
day after tomorrow" is a masterpiece of the screen. The 2009 Hollywood
science fiction disaster movie, with ecological disaster as its main object,
describes the response of human groups in the face of the destruction of the
earth, and shows the apocalyptic doomsday world as well as human life concepts
and values. The director captured the audience's attention with stunning
special effects and spectacular disaster scenes, and remade the lofty
self-centered image of America. The film is not only a time publicity of
national spirit, but also a global penetration of the American centralism
national ideology.

Althusser
pointed out in "ideology and ideological state machine" that
"the ruling ideology is realized in the ideological state machine by the
ruling class". Obviously, as a new art style, the film has also taken on
the responsibility of spreading national ideology while becoming an ideological
state machine. In the contemporary film industry, the "dream factory"
represented by Hollywood not only creates spectacular images for audiences, but
also exports a large number of ideologies contained in American society with
the help of the film. For example, in the film, when human beings are facing an
existential crisis, the United States always appears at the most appropriate
time and saves human beings in the most appropriate way, playing the role of a
leader leading the global people out of the disaster. Obviously, the director
in shaping the image of other countries in the eyes of the United States
highlighted the self-centered image of the United States, a lofty image that no
one can replace. Just like the beginning of the film, the director focuses his
lens on five different countries: India, the United States, Britain, China and
France, which not only creates a tense and suffocating atmosphere for the
audience, but also implies the ideological discourse in the work. The first
scene: a local scientist in South Asia, India, works in high temperatures in a
humble, dark underground chamber, and after years of research, discovers the
global geological anomaly. The highly developed technology of India in the film
makes Americans admire it, but a set of scenes reflecting the poverty, disorder
and dirty living conditions of India has left the mark of colony. The
hard-working Indian scientist is nothing but the cheap labor of black American
scientists. Scene two: the camera is on developed America. At a dinner to raise
money for charity, a black American scientist presents a national geological
crisis report to the prime minister. While creating the atmosphere of death,
the film also reflects the superiority of the American nation, sets up the
brilliant image of black scientists, and advocates the national individual
heroism. The third scene: the camera focuses on Western Europe and Britain,
where angry people take part in various demonstrations against the economic
crisis. The director contrasted the dancing America with the turbulent Britain.
He not only satirized the declining old capitalist country, but also fully
affirmed America's position of world hegemony. Scene 4: the camera focuses on
China in east Asia, and the Chinese army gathers its personnel in Tibet to
build the dam. The film shows the supreme authority of the people's army,
reveals the backwardness and conservatism of Chinese society, the ignorance and
blind obedience of Chinese people, and brings the United States, which
emphasizes human rights and democracy, to the height of The Times again. Scene
five: back in Europe, a group of museum staff is preparing to remove the Mona
Lisa. The director's difficulty in moving the portrait implies the turmoil of
international times, calling for peace and the advent of human messengers in
the atmosphere of death. Obviously, the director highly praised the supremacy
of the United States, believing that India, which first discovered the earth's
geological anomalies, Russia and Arabia, which undertook the huge costs of the
ark's construction, and China, which took over the huge production project,
were no more than American assistants. Because it's young scientists in the
United States who propose plans and directly influence world decisions and
determine the future of humanity. And America, acting as the world's policeman,
is the real defence organiser of the disaster.

Existentialist
philosophy holds that heroism is, first and always, a reaction to the fear of
death. Therefore, when people see a character who dares to face death or saves
others from the claws of death by personal power, they will be moved by the
character's courage to face death, and will be humbled by the character's
sacrifice to save his own life, marking the character as a hero. The university
of California sociologist Robert Mr Lage think "individualism is the real
core of American culture". When people are eager to find the so-called
individualism in the hot land of America, a "individual heroism" with
typical American political background takes root here, permeates into various
fields such as American ideology and culture, and carries forward with the help
of "seventh art" -- film. Hollywood in the United States has always
portrayed the hero as an all-knowing, omnipotent, dual sense of mission and a
pro-people hero who is not afraid of death for justice, so that the audience
through the screen heroes can be opposite to the surrounding characters, and
see their own shadow in such heroes. In a word, "individual heroism"
has become one of the essence and soul of Hollywood movies in America. It not
only makes people's fantasy closer to reality, but also realizes the display of
self-consciousness and self-value. In 2012, humanized heroes are portrayed
everywhere, from the elderly to the young children. The film's hero, Jackson,
is portrayed by the director as an ordinary American citizen, but he has a keen
mind and scientific judgment. He was proud and aloof, and his wife and children
left him because of his concentration on writing books. But it was this unknown
writer who emerged from the disaster with unprecedented energy and became a
national hero. In the face of this global natural disaster he did not fear, but
through tenacious perseverance overcome all kinds of hardships to lead his
loved ones boarded the ark, saved the human race. The director's heroism is
highlighted in the film, especially when ark 4 breaks down and the unknown
author risks his life to fix it and help the ark out of danger. He saved the
lives of many people, injured repair workers for him to give a thumbs-up, the
ship all people hailed heroes. In addition, while shaping the glorious image of
the black President of the United States, the director also delivered a clear
theme of "only America is the savior of mankind". In the wake of the
disaster, the President of the United States gave up the opportunity to board a
ship and escape. He chose to wait with his sons for the end of the doomsday,
leaving the line: "a young scientist is better than 20 old
politicians." However, at the same time, the black President of the United
States firmly controls the power of discourse at the top of decision-making
power. Every speech and standing up contains an unshakable image of authority,
which also means the deterrent power and leadership of the United States to
other countries.

Althusser
believed that ideology is a way to "recruit" subjects or transform
individuals into "subjects" and use very accurate operations to
"produce results" or "function". This is what he calls a
call or a call, and this call or a call is what some scholars refer to as a
natural call. In 2012, Jackson is portrayed by the director as an unknown little
writer, a marginal figure who is not recognized by his wife and children, nor
recognized by society. The audience was initially skeptical of the director's
arrangement and could only view the character from an outsider's perspective.
However, with the plot going deeper and deeper, the director reassured the
audience and relieved the psychological defense of the audience by improving
the image of the social little man. The courage and tenacity shown by the
characters in the face of the crisis, and the ultimate escape from danger, not
only arouse the audience's sympathy for the characters, but also deepen the
audience's subconscious trust and recognition of the characters. Thus, the
audience perceives the commonality between themselves and the characters
through the characters, and changes from a spectator to the subject who is
subservient to the ideology in the film: everyone longs to be the hero like the
hero in the film, and the hero who saves the people from the fire is the
audience himself. Obviously, the film's ideology not only enables the audience
to accept the construction of the subject subconsciously, but also believes
that as long as the director also endows the audience with the same thoughts,
behaviors and various norms as the hero in the film, they will also become
heroes recognized by the public, society and family. In a word, the director
hides the connotation of national ideology in this "the most disastrous
disaster film" which has never been seen before. While giving audiences
audio-visual impact with exquisite photography and perfect special effects, he
also explores the individual heroism advocated by American Hollywood with thick
ink. This kind of hollywood-style inquiry subject not only makes the audience
involuntarily yield to the subject's warning, but also becomes the best way to
capture people's hearts and earn box office.

The
author believes that the analysis of films by means of film ideological
criticism can provide us with a critical attitude towards cultural goods, a
non-utilitarian attitude towards truth, and a countercultural commercialism
attitude towards spiritual value and life meaning instead of pursuing market
function. In the 21st century, Hollywood blockbusters in the United States are
trying to instill American ideology into every film while they are constantly
exporting mass commercial films. These invisible and hidden ideologies have
imperceptibly penetrated the audience's way of thinking and behavior, which not
only laid the foundation for the worldwide consensus of the concepts and cultural
spirit advocated by the United States, but also paved the way for the
commercial expansion of Hollywood globalization.